Using Gale Historical Newspapers to Explore the Representation of Coastal Wreckers

The Wreckers, 1791 by George Morland

|By Ellen Boucher, Gale Ambassador at the University of Bristol|

One of my History modules this year, Outlaws, focused on the robbers, bandits and smugglers on the outskirts of society. For my final presentation for the module, I chose to study maritime wreckers using Gale’s Historical Newspapers, to explore how Daphne du Maurier’s novel Jamaica Inn, published in 1936, fitted into a changing narrative surrounding wreckers. ‘Wreckers’ was the name for those who would strip grounded or wrecked ships of valuable contents. Originally, they have been portrayed as dangerous criminals, in marked difference to other pirates and thieves we studied during this module, whose history has often been romanticised. Instead, wreckers, who were typically opportunists who saw themselves as having a right to the bounty from ships, were portrayed as dangerous and murderous criminals who would purposefully lure ships to wreck. This is the type of wrecker Daphne du Maurier presents in her antagonist, Joss Merlyn, a cruel and violent criminal.

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An Overview of the Romantic Period using The Times Literary Supplement Historical Archive

Wanderer above the Sea of Fog (1817)

|By India Marriott, Gale Ambassador at the University of Nottingham|

The Romantic period describes an artistic, literary, musical and intellectual movement that emerged throughout Europe at the close of the eighteenth century and moving into the nineteenth century. The Romantic period came as a response to the preceding ‘Age of Enlightenment’, moving away from rational individualism towards a more ‘romantic’ view of the world. Furthermore, many critics have pinpointed the Romantic period as a direct result of the ideals of the French Revolution that emerged at this time, allowing for further revolt against the aristocratic social and political norms of the Enlightenment era.

Romanticism places significance on imagination, emotion, freedom, and individualisation, in addition to suspicion of science and industrialisation post-Enlightenment. Furthermore, Romanticism places an importance on the power of nature and the natural world, which resulted in the creation of the concept of the Sublime, which I will explore further within this article.

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How are Female Protagonists Presented in Erotic Literature?

Montage of images from this post of erotic literature

│By Grace Pashley, Gale Ambassador at the University of Birmingham│

Erotic literature and the representation of human sexuality has been around for thousands of years, whether that be the erotic lyric poems of Sappho of Lesbos or the highly commercialised Fifty Shades of Grey. Embracing one’s sexuality and authentically representing human experience has been and continues to be a contentious topic in the modern day. The Private Case from the British Library, one of the collections in Gale’s Sex and Sexuality, Sixteenth to Twentieth Century archive, brings to light erotic printed books which were previously deemed too deviant and morally corrupt to be available to the general public in the British Museum Library. Whilst The Private Case from the British Library is now a historical collection which is no longer updated, this historical archive provides readers with an insight into the realities of sexuality, desire and contemporary attitudes around sex at the time that these books were produced.

Despite the benefits of uncovering the perceived, or potentially true, realities of intimacy in a period when sexual desire was condemned and criminalised, we must remember that much of the erotic literature is written by men for men. The representation of women in erotic literature is often limited as women are objectified by the male gaze, and not able to voice their own thoughts about their sexual encounters. Whilst objectified, women are still represented as individuals who enjoy sexual encounters, but usually only in service of men, and have little to no agency in these sexual encounters. Yet, whilst it’s important to recognise the male gaze and its impact on how women and their sexual desire is portrayed, The Private Case from the British Library is able to provide researchers with an unabashedly revealing depiction of human sexuality.

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Keeping Your Love of Literature Alive While Studying at University

Image of young woman sat on the floor of a library, reading

│By Chloe Ann Hooper, Gale Ambassador at the University of Glasgow│

Although what inspired me to enrol in an English Literature degree course was my love of reading, throughout my undergraduate studies I found that, after spending hours a day making my way through reading lists, the last thing I wanted to do was pick up another book! Having since spoken to friends who studied the same course as me, I’ve found out that I wasn’t the only one who had felt this way – it actually seems to have been a fairly common experience. I didn’t realise that at the time, however, and thought that I was a fraud for passing the course while not acting like a stereotypical “reader”.

What took my friends and I a long time to realise is that reading a book to study it in class is a very different experience to reading a book for fun. Even after graduation, getting back to reading what you love can be a long and frustrating process which is why I decided to put this blog post together. Chances are that you’re not going to be reading a lot of action-packed mystery novels or YA romance/adventure books while at university, but after exploring Gale’s literature resources I found a few tools that students can use to stay inspired by and engaged with the written word.

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The Only Way is Wessex: Thomas Hardy’s Cultural Impressions

By Daniel Mercieca, Gale Ambassador at Durham University

“She was not an existence, an experience, a passion, a structure of sensations, to anybody but herself. To all humankind besides Tess was only a passing thought. Even to friends she was no more than a frequently passing thought.” [i]

The well-trodden Dorsetshire heathlands, bustling rustic communities and evanescent ghosts from Thomas Hardy’s folkloric world, Wessex, continue to impress memories of English rural heritage. Hardy’s sensitive capturing of ‘mere impressions of the moment’ in prose and poetry; the cascade of raindrops on a gate, hazy warmth of a barn dance or ghostly silhouette of a horse rider in sea mist, reinvigorates our appreciation of ordinary experience [ii]. This year marks the 90th anniversary of Hardy’s final collection of verse, Winter Words in Various Moods and Meters (1928), whose sombre cadences echo amongst later generations of modern poets and can be found in The Times Historical Archive. The continual resurgence of Hardy’s works in dramatic and televisual adaptations, modern poetry and National Trust Heritage fosters a Wessex mythology which remains vibrant today.

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